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The Stained Glass Windows
at Trinity United Church
Charlottetown
Reginald Porter
Charlottetown
2015
2015
1
The Stained Glass Windows
at Trinity United Church
Charlottetown
Reginald Porter
Charlottetown
2015
2
© Reginald Porter, 2015.
The Author retains any and all intellectual rights to the present document. The
Author gives permission to the Trinity Clifton Pastoral Charge of the United
Church of Canada to publish in Hard (Printed) Copy, to extensively quote, or to
post on the Internet any portion of this Document for any purpose that falls within
their mandate of interpreting the artistic heritage of the church.
The Copyright of all the Illustrative Material is the property of the Reg Porter
Collection.
Disclaimer: This Guidebook has been reviewed by Trinity Clifton Pastoral Charge
and approved for distribution. Approval does not necessarily signify that the
contents reflect the views and policies of Trinity Clifton Pastoral Charge of the
United Church of Canada.
This first edition of the booklet was printed in 100 copies thanks to the generosity
of a member of the Congregation who wishes to remain anonymous.
3
Foreword by Rev. Dr. John Moses
The original purpose of stained glass church windows was educational. They
depicted the stories of the Bible and the legends of the saints in a way that made
them accessible to the Christian faithful, the majority of whom were illiterate or
barely literate. The Mass might be in Latin, the holy book might be a mystery to
everyone but priests and bishops — and often to them as well — but all around in
great cathedrals and in lesser houses of worship Jesus and his disciples, the
prophets of old, Adam and Eve, David the shepherd boy, the Blessed Virgin and
many others were there to catch the eye and touch the heart. Sometimes the art was
impressive, sometimes it was not very good. Always it bore witness.
Those who were shaped by the Protestant Reformation of the 16th century and by
the Methodist movement of the 18th century usually regarded stained glass
windows as a form of idolatry and a distraction from the pure word of God. Their
meeting houses were devoid of visual art — the windows meant only to admit
God’s light.
This shunning of images was made practical by the invention of the printing press
and a rising rate of literacy. People could read the Bible for themselves. Preachers
could be educated to teach and interpret. What need was there for “foolish
pictures”?
As the history of Trinity United Church in Charlottetown indicates, these attitudes
began to soften during the second half of the 19th century. It probably wasn’t so
much that the theological rationale for rejecting images was overturned as that the
increasingly prosperous Protestants wanted their churches to reflect their hard-
worn social status and respectability. Memorial stained glass windows were both a
way of remembering loved ones and of saying, “We can afford this.”
Trinity’s stained glass windows remind us of the evolution of Methodism in this
community — from a few humble folk gathered in Benjamin Chappell’s home to a
culture-shaping religious and social force. If, however, you simply want to enjoy
them as things of beauty, that will be okay as well.
Reg Porter, with the assistance of Katherine Dewar, has done a fine job of
uncovering almost-forgotten lore and presenting us with this book of treasures.
(Rev.) John Moses
4
5
Table of Contents
Foreword 3
Introductory Note 7
Trinity United Church and its Windows 9
Schema of the Principal Windows 17
Schema of the Ground Floor Aisle Windows 27
Schema of the Secondary Windows 49
Schema of the Chapel Windows 55
Schema of the Parlour Windows 69
Bibliography 75
6
7
Introductory Note
One hundred and fifty-one years ago Thomas Alley and Mark Butcher built the
First Methodist Church on the corner of Prince and Sydney Streets. It was a great
preaching hall brightly illuminated with nineteen tall windows. According to the
Methodist liturgy of the day there was no question of installing stained glass
windows nor providing an instrument such as an organ to accompany the Liturgy
of the Word. As the Nineteenth Century drew to a close stained glass windows
became acceptable and an organ was installed. Thus came into being the beautiful
church interior the congregation enjoys to this day.
This guidebook on the stained glass windows of Trinity United Church has been
prepared to assist the guides who give tours to visitors during the summer months.
It is in the form of a catalogue for works of art where essential documentation of
each window is provided, along with a description of its elements and an
explanation of its religious symbolism. It may be of interest to a wider audience in
the congregation who have an interest in the heritage of their church and it may
also be of use to individuals who study the artistic heritage of the Island.
In order to make the material more accessible for study, an organisation has been
imposed on the distribution of the glass in the various parts of the church and the
windows have been classified in order of their importance. Thus the first section is
on the great windows of the West Front and the chancel followed by the windows
along the aisles in the body of the church, the windows of coloured glass in the
porch, gallery and vestry and the two collections of stained glass found in the
Chapel and the Parlour. Each section is preceded by a schematic diagram that gives
the location of the windows in their particular spaces.
Trinity United Church is fortunate in having an extensive collection of stained
glass windows made by some of the best craftspersons in the country, including
artists from Prince Edward Island. Its dates span over a hundred years of
production documenting the evolution of styles in the art of the stained glass
window. The subjects depicted in these windows consist of events from the life of
Jesus, specific instances of His teachings, subjects from the Old Testament, an
illustration of the Doxology and various symbols and allegorical figures from the
history of Christian art.
Apart from the modern stained glass in the chapel and parlour, which is all signed
and dated, it was extremely difficult to date the old glass in the body of the church.
8
In some fortunate cases there were newspaper accounts that provided specific
information while in other cases informed judgment provided approximate dates.
At this time the church archives are divided among three locations and work on
cataloguing the portion remaining in the church has not yet begun. More accurate
information will become available in the future as this work progresses.
In writing this guidebook the author has tried to be as accurate as possible in the
transcription of data on the windows and in the various descriptions of the subjects
depicted. Any errors are entirely his fault and as they are identified they will be
corrected in the manuscript.
In the preparation of this catalogue a substantial amount of archival research had to
be done that was outside the scope of the work done by the author. Katherine
Dewar, whose idea it was in the first place to prepare reference material for the
guides, carried out this vital research and shared her findings with the author who
is very grateful for this and expresses his deepest gratitude. She also spent
considerable time helping with the proofreading. We are also thankful to various
guides and church personnel for granting access to all parts of the church on
numerous occasions so that the glass could be studied in situ, allowing photographs
to be taken as well as numerous measurements to determine the physical scale of
the windows.
Various individuals outside the Congregation have been helpful in a number of
ways. Ann Thurlow identified the stained glass artist who assembled the chancel
window in the chapel. Andrew McCausland, of Robert McCausland Limited in
Toronto, generously assisted in establishing the dates, as much as was possible
after so many years, of the nine McCausland windows which are among the chief
treasures of the church and helped clarify the nature of some subjects depicted.
We are most grateful to Rev. Dr. John Moses for his support and interest in this
project.
Reginald Porter
September 2015
9
Trinity United Church and its Windows
In the summer of 1864 as the construction of the new brick Methodist church
approached completion it was possible to see that a new era had arrived not only in
the appearance of a dramatic new space for worship but also one that celebrated
the fashionable new Gothic Revival style of building. To the left of the imposing
brick church designed by Thomas Alley and finished simply but elegantly by Mark
Butcher, stood the L-shaped Greek Revival church designed and built by Isaac
Smith and his associates in 1835 and 1847. An era had come to an end and another
was about to begin that, before too long, would see startling new innovations in
Methodist liturgy that would, by 1885, permit the installation of an organ to
accompany the lively chant, and the beginning of the placing of stained glass
windows in tracery that was only ever meant for plain milk glass.
Detail of a photo showing the erection of the roof trusses in the later stages of the construction of
the new Methodist Church. 1864.
The church was to be extraordinary in a number of ways but perhaps most
dramatically in the construction of the interior space, which consisted of a single
unsupported vault around 69 feet high that spanned the 69 x 115 foot body of the
church. No matter that the church was based on fashionable new designs, the idea
10
of the great open meeting hall took precedence over the usual arrangement of nave
and flanking aisles. On May 25 1863 at the laying of the cornerstone ceremony, the
Rev. Mr. Brewster, the minister of the church, said in his address to those
assembled:
The building to be erected on this foundation will be simple, plain and
exceedingly primitive. No rich carving in stone or fancy moulding will
attract the eye. No tower or stately spire will grace its ample proportions. Its
peculiar excellence will be its facility for the preaching and hearing of the
gospel of our blessed Lord. The glory of our Christian economy as
Methodists is the obedience that we give to the grand primary law of the
New Testament – “Preach the word.”
Nevertheless in spite of Rev. Brewster’s claim to utter simplicity in the design and
construction of his church, it was at the cutting edge of fashionable church design
for both Protestant and Catholic congregations, especially in New England.
Barry, Sir Charles - Unitarian Chapel,
Upper Brook Street, Manchester,
1837-9.
Charles Alexander -
Chestnut Street
Methodist, Portland,
Maine, 1856.
Patrick Keely - Church of
the Most Holy Redeemer,
Boston, 1854-57.
The essence of the design of the façade, which derives from English 1830s models
based on Late Mediaeval architecture, is a vast plain gable, pierced by a massive
stained glass window beneath which a great door leads up to an elevated nave. This
allows for a well-illuminated basement which, in Charlottetown, was used for a
variety of classrooms for the many and evolving educational programmes
sponsored by the church. The façade is flanked by two slender turrets which were
originally topped with small spires of what appear to be open metal construction.
11
The First Methodist Church shortly after
completion, circa 1865-66.
The church in the 1860s showing the seven tall
Gothic windows separated by tall brick
buttresses.
Although one would expect the vast areas of glass in the elaborate window tracery
to be filled with multi-coloured stained glass this was never the intention of the
builders of this church. From the start, in spite of the elaborate tracery designed
and constructed by Alley and Butcher, it was intended that only plain opaque glass
would fill the windows. In the Protestant and Evangelical Witness, 19 November,
1864, it says, “the whole of the windows are glazed with milk and ground glass
which softens the light.” Perhaps, the two windows that survive in the vestry are
remnants of this original glass. It seems most likely.
As the 19th Century drew to a close so too did the inflexible attitudes to musical
instruments and coloured glass in the church begin to change. A small organ,
perhaps a pipe organ, was installed in 1885, to the great joy of the congregation
whose worship took the form of hearing the Word of God from the pulpit and then
singing those words adapted as hymns, without accompaniment. These hymns
were taken from the very rich store found in John Wesley’s Hymnal which, at that
time contained about 769 separate arrangements.
According to information received from the stained glass manufacturing firm of
McCauslands in Toronto we know that it was also about this time that stained glass
began to be introduced in various windows in the church. The first was the great
“Praise God” or Doxology window in the upper portion of the West Front, which
was installed in the 1885-87 period.
12
We are told that when Rev. George M. Campbell
became minister in 1894 (Rogers, 1962) the interior
of the church underwent enormous changes, starting
with the covering over of the painted plaster ceiling
with the dark varnished Douglas Fir still visible
today. It was the beginning of the rage for that wood
that was a cheap solution to cover over aged cracked
plasterwork and, so it was said, brought about a great
improvement in the acoustical properties of the space.
Few churches would escape its application in the
generation that followed and the architect W. C.
Harris enthusiastically supported its use in the
interiors of the churches he built.
It is a very fortunate thing indeed that Alley and
Butcher constructed all their windows with
extraordinarily fine Gothic tracery even though it was
never intended to fill those flowing shapes with
coloured glass. When the moment came to install
stained glass however, everything that was needed
was in place. It was simply a case of deciding what
would go where.
From the very start there was a serious problem
caused by the construction of a great U-shaped
gallery around the church to accommodate the large
crowds that made up the congregation. We have
evidence that a gallery was in place at the time the
church was dedicated although we are not sure if it
was essentially the same structure we see today. We
can be sure though that the gallery backed onto the
tall narrow side windows at a point where a division
had been made in the tracery, effectively creating two
potential spaces for windows. This break in the
verticality of the tall windows can clearly be seen in
the illustration on the right. All of the aisle windows
on the North and South sides were placed in those
lower sections where they are today – all ten of them!
13
The great West window was
constructed with the same two-
tiered sections as the narrow
aisle windows and the break
between the upper and lower
portions was at roughly the same
distance from the ground in both
instances. This meant that the
gallery covered the break,
forcing two separate windows to
be installed. The result was that
the large Doxology window
could be clearly and completely
seen from the body of the
church.
Not so with the lower section,
which consists of three equal-
sized lancets placed, at a much
later time, side by side in the
approximately 12 x 14 foot lower
section.
In that space today there is an
important window manufactured
by Paul Blaney of Saint John in
1972. It is full of traditional
religious imagery and depicts
Christ in Majesty flanked by
Saint Peter and Saint John. This window can only be seen in its entirely from the
street in the pattern of the lead supports that keep the glass pieces in place and at
night when the whole west window is illuminated from within. Inside the church
its upper three foot portion is covered by the back of a gallery pew while the rest
disappears into the space between the gallery and the wall. To see the lower six
foot portion of the window one must go down to the porch and look up. The ceiling
is constructed in such a way that only the most oblique view of the glass can be
seen. The placement of this interesting and important window in this position as
early as the 1970s is a mystery. It is also a great waste. Simple non-figurative
decorative glass would have been infinitely cheaper and much more appropriate to
this location. As has been done on at least three occasions in other parts of the
14
church since that time, the window could have been mounted on a light box and be
seen for what it was worth.
With the race on to fill as many windows as possible with stained glass, in 1904
the Longworth family made a magnificent offering to the church in the form of two
very large 9 x 14 foot high chancel windows that flanked the organ. In order to do
this four tall narrow lancet windows that had originally flanked the pulpit were
bricked up so that these large wide windows could take their place high in the
chancel wall. The picture below shows their probable original location in the white
Gothic arch blank spaces above the present organ pipes.
To sit in the pews and contemplate these extremely fine windows – among the very
best in the church – must have been a wonderful experience. Progress continued
and just a few years later, in 1909, a much larger tracker action organ by Karn
Morris was obtained and it was so wide to that it obstructed the view of the
Longworth windows. As can be seen in this photograph they were moved outward
so that today they can only be appreciated by going to the gallery. There was no
need – and no space – for any further moving of windows when the great Casavant
organ, the present one, was installed in 1955.
15
All this blocking up, opening new windows, closing the spaces and opening yet
new spaces can be seen on the brickwork on the back of the church. It is a history
in brick and deserves to be examined.
In the late 20th Century a chapel was set up on the south side of the basement and
soon donors filled the available window space with four Paul Blaney windows.
Windows continued to be donated, including a powerful design of the
monogrammed Cross in the small chancel by Henry Purdy and a pair of interesting
symbolic windows by the Charlottetown firm of Burden and Hrabi. These last
three windows had to be mounted on light boxes.
Even later a parlour was set up on the north side of the basement and generous
donors once again provided funds for windows. Again Burden and Hrabi provided
two windows based on themes from the Parables and these were placed over the 5
16
x 6 foot basement windows which were originally placed beneath every tall aisle
window.
The known manufacturers of the stained glass windows in Trinity United are the
following:
The McCausland firm, Toronto
Luxfer Studios Limited, Toronto
Paul Blaney, P. E. B. Stained Glass Studio, Saint John
John Burden and Blaine Hrabi, Charlottetown
Henry Purdy and April FitzPatrick, Charlottetown.
At the time of writing the maker of the coloured glass windows in the porch and
gallery has not been identified nor the work dated.
This catalogue of stained glass windows in Trinity United is but a beginning and
mysteries are waiting to be solved by those who will take up this work in the
future.
17
Schema of the Principal Windows
Northeast gallery window
Peace be to this House
Robert McCausland Co.
1904
Great West Front Window
Upper Portion
Musical Angels Praising God
Joseph McCausland & Sons.,
Toronto
1885-87
Southeast gallery window
Christ Taking Leave of His
Mother
Robert McCausland Co.
1904
Great West Front Window
Lower Portion
Jesus in Glory flanked by SS Peter and John
Paul Blaney, St. John, NB
1972
18
Great West Front Window
Praising God (The Doxology and Psalms 100 and 117)
Manufacturer:
Joseph McCausland and Sons, Toronto.
Dimensions:
Approximately 14 feet wide by 18 feet tall.
19
Installed:
Circa 1885-87; restored in 2004.
Religious quotation:
“Praise God from whom all Blessings flow”
Thomas Ken wrote the hymn “Awake, My Soul, and with the Sun” in his Manual of Prayers for
the Use of the Scholars of Winchester College in 1674. The music was for the private use of the
scholars as at that time music that did not have a Biblical origin could not be sung in churches.
The last verse of the hymn, “Praise God, from Whom all blessings flow” eventually became
immensely popular as a doxology sung to the music of Old 100th, from the Genevan Psalter of
1551, attributed to Louis Bourgeois. Its majestic anthem-like quality is deeply moving and is
probably the best-known and most performed piece of music in many churches. Fundamental to
this hymn is its association with the exhortations of Psalms 100 and 117. It is therefore very
fitting that these words be used as the thematic motif for this the first, grandest and
architecturally most important window in the church.
Description of Window:
This huge window that dominates the west front of the church consists of two levels, the first
with three architectural settings for angels playing musical instruments and the top portion filled
with appropriately shaped panels to complete the rise of the Gothic window to its apex. Most of
the ornamentation of plant-like in origin but there are two very rich sections with powerful
religious imagery. The lower portion of the great window, now blocked by the gallery, contains a
fine 1972 window that is impossible to see in its entirety.
Angel musicians appear very early in Christian art, usually surrounding the Madonna and Child
in Byzantine paintings and also appearing in visions of heaven found in late Mediaeval and
Renaissance painting. Here three angels dominate the window space, standing above the clearly
legible first line from the Doxology. The one on the left, with tightly-curled hair and darker
complexion and blowing on a trumpet, may represent an artistic gesture to include people from
the many countries where the Methodists did their missionary work (Matthew 28:19). The angel
in the middle plays a stringed instrument belonging to the violin family while the third angel,
facing the first, also plays a trumpet. Together they praise God and invite us to do the same by
giving us the appropriate words. The trumpet also hints at the Last Judgment.
Near the top of the window in a trefoil of brilliant blue glass signifying the Trinity is the Dove of
the Holy Spirit descending to earth (Luke 3:21, 22). This is a magnificent detail in a very fine
window that demonstrates the art of the stained glass maker. Below, and directly above the
architectural niche of the central violin-playing angel, is another magnificent detail of Christian
symbolism, this time placed in two contingent circles of red glass. In the first circle on the left is
a sheaf of wheat and a bunch of grapes that flank a beautiful gold chalice, the symbol of the body
and blood of Christ as mentioned in Luke 22:14-22. The other circle contains a white baptismal
font surrounded by lilies (Matthew 28:19, 20 and Acts 2:38).
20
Northeast Gallery (formerly North Chancel)
“Peace be to this house” [Luke 10:5]
Manufacturer: Robert McCausland Limited, 30 Chauncey Ave, Etobicoke, ON M8Z 2Z4
Dimensions:
9 feet wide by 14 feet high.
21
Installed:
August 1904; restored in 1992.
Religious quotation:
Derivation of window title: “But whatever house you enter, first say, ‘Peace to this house.’ ” –
Luke 10:5 (NKJV)
Inscription on ribbon along the edge:
“My peace I leave with you, peace I give unto you: not as the world giveth give I unto you.”
[John 14:27]
Donor inscription:
To the Memory of Robert Longworth/ Erected by his son Israel Longworth.
Description of Window:
Israel Longworth, Son of Robert, left two thousand dollars in his will to have two windows
placed in the church in memory of his mother and father. McCausland’s of Toronto were
commissioned in March of 1904 to design a pair of large windows for the chancel. They were to
be 14 feet by 9 feet. They were finished in August and installed by Lowe Brothers. (Guardian 11
March 1904 and Guardian 22 August 1904.). In 1909 a large Karn Morris tracker action organ
was installed in the chancel. It was so wide that the two recently-installed chancel windows had
to be moved to each side by more than their width. They now occupied the ends of the gallery
where they are to be seen today.
The windows are beautifully designed with the central pictorial motif framed with ribbon
inscriptions interlaced with tall white lily plants that meet at the apex of the Gothic window. At
the bottom the donor inscriptions are enclosed in a leafy box of similar width to the main subject.
The tracery has been configured so that the large central composition is free from architectural
supports.
The scene depicted in the large central portion shows Christ carrying his shepherd’s crook
standing at an open door, his right hand raised in greeting and a cruciform halo framing his head.
A woman, presumably the mother, holds the door wide open while a young boy, seemingly
troubled, turns away and anxiously hides his mouth with a fold of his tunic. It is very obvious
that something is wrong in this house. The ribbon inscription tells us that a heart might be
troubled or afraid and that Jesus will set it right with his healing presence. Peace will be restored
and once again all will be well.
Reference Material:
Guardian 11 March 1904.
Guardian 22 August 1904
22
Southeast Gallery Window
Christ taking leave of his mother.
Manufacturer: Robert McCausland Limited, 30 Chauncey Ave, Etobicoke, ON M8Z 2Z4
Dimensions:
9 feet wide by 14 feet high.
23
Installed:
1904; restored in 1992.
Religious quotation:
“Let not your heart be troubled; Ye believe in God, believe also in Me.” [John 14:1].
Donor inscription: “To the Memory of Mrs. Robert Longworth/Erected by her son Israel
Longworth”
Description of Window:
Israel Longworth, Son of Robert, left two thousand dollars in his will to have two windows
placed in the church in memory of his mother and father. McCausland’s of Toronto were
commissioned in March of 1904 to design a pair of large windows for the chancel. They were to
be 14 feet by 9 feet. They were finished in August and installed by Lowe Brothers. (Guardian 11
March 1904 and Guardian 22 August 1904.). In 1909 a large Karn Morris tracker action organ
was installed in the chancel. It was so wide that the two recently-installed chancel windows had
to be moved to each side by more than their width. They now occupied the ends of the gallery
where they are to be seen today.
The windows are beautifully designed with the central pictorial motif framed with ribbon
inscriptions interlaced with tall white lily plants that meet at the apex of the Gothic window. At
the bottom the donor inscriptions are enclosed in a leafy box of similar width to the main subject.
The tracery has been configured so that the large central composition is free from architectural
supports.
In an open courtyard with an arched opening leading out into the world, we see Jesus taking
leave of his mother. It is not a scene documented in the Bible but one that became popular in the
art of Northern Europe in the late Middle Ages. An excellent account of the subject and the story
can be found at this internet site:
https://en.wikipedia.org/wiki/Christ_taking_leave_of_his_Mother
This is a very poignant moment in the story of Jesus and his family and can be interpreted as the
beginning of the Passion. After thirty-three years of a quiet existence about which we know
almost nothing except what the words from Luke 2:52 tell us, that he grew wisdom and grace, he
takes his leave of his mother. Now is the end of this domestic anonymous time. He leaves to
begin his ministry which will culminate in his death and the redemption of humankind. It is a
terribly sad moment for it prefigures their last meeting as he dies on the cross.
Reference Material:
Guardian 11 March 1904.
Guardian 22 August 1904
24
Porch West Window
Jesus in Glory flanked by SS Peter and John
(Awkward merging of the divided halves in the gallery and porch because the sections had to be
photographed from two levels at opposite angles and joined in this manner.)
Manufacturer: Signed by Paul Blaney, P&B Stained Glass Studio, Saint John, NB
Dimensions:
Approximately 14 feet wide and 12 feet high.
Installation:
Manufactured in 1972 and installed in 1975.
Religious quotation:
The Greek letters A and Ω flanking God the Son are inspired by “I am the Alpha and the Omega,
the Beginning and the End,” says the Lord, “who is and who was and who is to come, the
Almighty.” - Revelation 1:8 (NKJV)
25
Donor inscription:
Under the Saint Peter panel is the following: “In memory of John Percival and Martha F
Simmonds presented by their children and grand-children”. Below the Son of God panel is the
following: “Presented by Alfred A Houle/ In Memory of his wife and son Dr. Lester Houle. The
inscription below the Saint John panel reads, “In memory of Lloyd Willard Shaw MA LLD
presented by his wife Jessie and daughter Katherine Bigelow.”
Description of Window:
This large rectangular window, divided into three sections framed by Gothic arches, is arguably
filled with more traditional Christian imagery and symbolism than any other window in the
church. Yet it is almost completely unknown to the congregation and visitors because of its
placement. In 1972 it was installed in the space below the great Gothic west window with the
musical angels and was cut visually into two parts by the insertion of the gallery against the wall.
The lower part is heavily obscured by the sloping gallery floor that forms the ceiling of the porch
and its upper portion is completely blocked by the farthest gallery pew. The first panel depicts
Saint Peter with his emblems, the centre one portrays Jesus as the Son of God flanked by the A
and Ω of Revelations and the third panel represents Saint John the Evangelist or the Divine with
the symbols associated with him. It is unfortunate that this, the most symbolically sophisticated
of all the windows in the church, is largely invisible and cannot be seen in its entirety. It can only
be seen – in reverse – from the street when the great window is lighted at night.
Religious Symbolism:
In the Saint Peter window the apostle is seated facing the centre window with Jesus. In his left
hand he holds a model of a church with a spire and with his right hand points to Jesus. Behind
him, leaning against his stool, are two very large keys, one silver, the other gold – the keys to the
kingdom of heaven (Matthew 16: 18-19). Above Peter’s head – and visible only in the gallery –
is a cock placed on top of a trefoil and a triangle, both symbols of the Trinity. The cock is a
reference to Peter’s denial of Jesus (Matthew 26:69-75) on the night before his death.
The middle portion of the window shows Jesus seated on a thrown in a mandorla – an almond-
shaped sunburst and ancient symbol of glory. He is flanked by the first and last letters of the
Greek alphabet – the alpha and omega – from Revelation 1:8. Above Jesus is a hand coming out
of a symbol of a diamond superimposed on a square, both symbols of the four Evangelists. From
the hand three rays of light fall on his shoulders and these symbolise the Trinity.
The third portion of this window shows Saint John the Evangelist, considered to be the author of
the fourth gospel and the Book of Revelation. Here John is shown sitting on a stool facing Jesus
and holding a chalice out of which coils a snake. This is a reference to a legend where Nero tried
to kill John but the poison evaporated out of the cup in the form of a snake. In the top part of the
window is an eagle, symbol of soaring spirit and inspiration, also a reference to the lofty
language of John’s gospel. The eagle is one of four holy beings called the tetramorphs (four
shapes) seen in a vision by Ezekiel and which have become the symbols of the four evangelists –
the lion of Saint Mark, the ox of Saint Luke, the man of Saint Matthew and the eagle of Saint
John. (Revelation 4:7)
26
27
Schema of the Ground Floor Aisle Windows
North aisle window 5
Good Shepherd & St. John
Robert McCausland Co.
Post 1897
South aisle window 5
Jesus doing good.” [Acts 10:38]
Robert McCausland Co.
Post 1897
North aisle window 4
Jesus visits Mary and Martha
Robert McCausland Co.
Circa 1898
South aisle window 4
Light of the World and Faith
Robert McCausland Co.
Post 1897
North aisle window 3
Allegory of Hope and Love
Robert McCausland Co.
Post 1897
South aisle window 3
Presentation in the Temple
Robert McCausland Co.
1903
North aisle window 2
War Memorial Window
Luxfer Studios Ltd.
Post 1929
South aisle window 2
Agony in the Garden
Luxfer Studios Ltd.
1929
North aisle window 1
The Three Marys
Luxfer Studios Ltd.
Post 1948
South aisle window 1
Solomon builds his Temple
Luxfer Studios Ltd.
1939
28
North Aisle 1
The Holy Women at the Sepulchre or The Three Marys
Manufacturer: Luxfer Studios Ltd., 6-8481 Keele St, Concord ON, L4K 1Z7
Dimensions:
All the aisle stained glass windows are in the bottom part of the 14 tall windows on the north and
south sides. These lower portions are about 54-56 inches wide and about 104 inches tall. These
are divided into two parts by the tracery, each about 25 by 104 inches.
Installed:
Post 1948; restored in 2005
29
Religious quotation:
“He is not here but is risen” Luke 24-26
The context of the story is found in Luke 24: 1-12 (NKJV):
“Now on the first day of the week, very early in the morning, they, and certain other
women with them, came to the tomb bringing the spices which they had prepared. But
they found the stone rolled away from the tomb. Then they went in and did not find the
body of the Lord Jesus. And it happened, as they were greatly perplexed about this, that
behold, two men stood by them in shining garments. Then, as they were afraid and bowed
their faces to the earth, they said to them, “Why do you seek the living among the dead?
He is not here, but is risen! Remember how He spoke to you when He was still in Galilee,
saying, ‘The Son of Man must be delivered into the hands of sinful men, and be crucified,
and the third day rise again.’”
And they remembered His words. Then they returned from the tomb and told all these
things to the eleven and to all the rest. It was Mary Magdalene, Joanna, Mary the mother
of James, and the other women with them, who told these things to the apostles. And
their words seemed to them like idle tales, and they did not believe them. But Peter arose
and ran to the tomb; and stooping down, he saw the linen cloths lying by themselves; and
he departed, marveling to himself at what had happened.”
Donor inscription:
IN MEMORY OF GEORGE EDWARD FULL 1846 – 1926
IN MEMORY OF IDA TROWAN FULL 1866 – 1948
Description of Window:
The window consists of two lancets joined together as a diptych that tells the story of the three
women who on the Sabbath came to the tomb bringing fragrant ointments with which to anoint
the body of Christ. In Mark 16:1 they are identified as Mary Magdalene, Mary of Jacob and
Salome (called Mary Salome). On the left the three women are shown in attitudes of prayer and
wonder. The kneeling woman in the foreground has her left hand on a purple urn containing the
ointment and there is also a cloth. Behind the women in the distance can be seen the three
crosses of Calvary. The right panel shows the angel with his left foot on the opened sepulcher
while he points to heaven with his right hand. On the edge of the sepulcher are the crown of
thorns and the winding sheet in which Jesus was wrapped when he was put in the grave.
Religious Symbolism:
The traditional symbols used in this window are the urn for anointing, the cloth that accompanies
it, the crown of thorns and the winding sheet. They are considered major symbols of the
Resurrection because of their proximity to the body of Christ.
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North Aisle 2
Memorial Window
Manufacturer: Luxfer Studios Ltd., 6-8481 Keele St, Concord ON, L4K 1Z7
Dimensions:
All the aisle stained glass windows are in the bottom part of the 14 tall windows on the north and
south sides. These lower portions are about 54-56 inches wide and about 104 inches tall. These
are divided into two parts by the tracery, each about 25 by 104 inches.
Installed:
Post 1929; restored in 2005
31
Religious quotation:
“They have fought a good fight they have finished their Course, they have kept the Faith”
adapted from 2 Timothy 4:7 – I have fought the good fight, I have finished the race, I have kept
the faith. (NKJV)
Above the soldier is “Be thou Faithful unto Death and I will give thee a CROWN of LIFE” is
taken from Revelation 2:10 (NKJV): “Do not fear any of those things which you are about to
suffer. Indeed, the devil is about to throw some of you into prison, that you may be tested, and
you will have tribulation ten days. Be faithful until death, and I will give you the crown of life.”
Donor inscription:
On the left side: “To the Glory of God and in loving Memory of Mary Mackenzie, died February
23rd, 1928./John T. Mackenzie died June 4th, 1929”.
On the right side: “And their two Sons Lieut. Charles Spurgeon Mackenzie killed in Action May
8, 1917/ and Lieut. Theodore Cuyler Mackenzie died of wounds February 19 1919”.
Description of Window:
At the end of World War I it was felt in many parts of the British Empire that suitable
monuments should be erected in prominent places in towns and villages to commemorate those,
listed by name, who had lost their lives for King and Country. By the mid-1920s the movement
had picked up and memorials began to appear across Canada. Churches too began to show an
interest in memorials in the form of windows and a vast number of these were produced and can
be studied on an Internet search of “war memorial stained glass windows.” The question always
had to be asked whether the Prince of Peace, the God of loving your neighbour, could really be
represented as showing favour to the victor. Choosing a subject for the window was never easy.
Some churches chose representative figures of those who had served in various capacities, often
holding a symbol of what they did in the war while others opted for allegory. The favourites
were Saint George and Sir Galahad, often portrayed together. The fallen were celebrated for
having fought to preserve righteousness, justice, and liberty in the Commonwealth world.
In this window a young knight in mediaeval armour holds a large broadsword passively by the
blade as he turns to Jesus. The sword is similar to those engraved on stone cenotaphs across the
Empire. The background of the picture, elegantly contained in Gothic style architectural filled
with leafy ornamentation, is dark and ominous. Jesus is standing on a layer of cloud and both
figures are next to the water, perhaps a reference to Prince Edward Island. Jesus holds in his
hands a magnificent crown which he is about to offer to the young soldier, who has already
begun to incline his head as he approaches. Above the soldier’s head are the words “Be thou
Faithful unto Death and I will give thee a CROWN of LIFE” taken from Revelation 2:10. We
don’t know who the young man is. He is not Saint George because he does not wear the
obligatory white tunic with a red cross. He might be Sir Galahad but he might also be the
personification of all Island young men who went away to earn the martyr’s crown and a special
place in heaven. The symbolism in this window may be hard for some people to accept. It plainly
indicates that in time of war God is on our side.
32
North Aisle 3
Allegory of Hope and Love
Manufacturer: The Robert McCausland Co, Toronto
Dimensions:
All the aisle stained glass windows are in the bottom part of the 14 tall windows on the north and
south sides. These lower portions are about 54-56 inches wide and about 104 inches tall. These
are divided into two parts by the tracery, each about 25 by 104 inches.
33
Installed:
post 1897; restored in 1991.
Religious quotation:
The figure on the left is labelled “Blessed Hope” which is taken from “…looking for the blessed
hope and glorious appearing of our great God and Savior Jesus Christ” – Titus 2:13 (NKJV)
Donor inscription:
On the left side: “Mother”.
On the right side: “Emma Barr Huntley/ Born Sept 24 1858 – Died Feb 15 1896/ “She was Full
of Good Works and Alms – deeds which she did” [Acts 9:36]/ Erected by her sisters Mary,
Mattie and Ada”.
Inscription at the bottom: “Also: Grace Tippet Barr/ Died Nov 5th 1897 – Aged 76 years/ “She
Hath Done What She Could” [Mark 14:8]/ Erected by her daughters.”
Description of Window:
This richly-coloured McCausland window is divided into two halves each picturing small
elaborately-crowned Gothic shrines called aedicula which in turn provide space for the two
allegorical figures of Hope and Love. Hope is a very richly-dressed young woman with a
necklace with a star on it – the star of the sea by which we navigate as Christians. In her left hand
she holds a large anchor with a rope attached, an early Christian symbol for the Cross, hope and
salvation., a reference to “…looking for the blessed hope and glorious appearing of our great
God and Savior Jesus Christ” – Titus 2:13.
The other figure is an allegory of Love, showing a young mother nursing her child. She wears a
headband with a pink heart on it. This signifies true love and great joy but also sorrow.
Religious Symbolism:
The various symbols and references to Bible passages signify the Virtue of Hope that must
forever guide Christians and also Love that must be the basis of Christian life.
34
North Aisle 4
Jesus visits Mary and Martha
Manufacturer:
Robert McCausland Co., 30 Chauncey Ave, Etobicoke, ON M8Z 2Z4
Dimensions:
All the aisle stained glass windows are in the bottom part of the 14 tall windows on the north and
south sides. These lower portions are about 54-56 inches wide and about 104 inches tall. These
are divided into two parts by the tracery, each about 25 by 104 inches.
35
Installed:
Circa 1898; restored in 1991.
Religious quotation:
“Mary has chosen that good part, which shall not be taken away from her” – Luke 10:42 (NKJV)
Mary has found the only thing that matters and she will keep it always. The full story of this
episode is found in the following verses of Luke 10: 38-42:
“Now it happened as they went that He entered a certain village; and a certain woman
named Martha welcomed Him into her house. And she had a sister called Mary, who also
sat at Jesus’ feet and heard His word. But Martha was distracted with much serving, and
she approached Him and said, “Lord, do You not care that my sister has left me to serve
alone? Therefore tell her to help me.”
And Jesus answered and said to her, “Martha, Martha, you are worried and troubled
about many things. But one thing is needed, and Mary has chosen that good part, which
will not be taken away from her.” (NKJV)
Donor inscription:
Left side: “In Loving Memory of Henry Stamper/Died July 24 1859”
Right side: “And his wife Catherine Normore/Died April 13 1891 – Erected by Sara & Eva
Stamper”
Description of Window:
This window has a sophisticated composition where our eyes travel from the foreground, across
a courtyard and out into the far distance. The Gothic frame of the window gives us a privileged
view into the home of Mary and Martha where Jesus has come to visit. Mary is enthralled by the
words of Jesus while her sister fusses about getting a meal ready for their guest. She carries a
tray of fruit and bread and a goblet is already on the table. The meal is being served in an outside
courtyard of the house and grapes, a symbol of the Eucharist, are seen growing on a trellis.
Martha chides Jesus, asking him to tell Mary to help her with the important preparations of
offering hospitality to a guest – an important duty in the ancient world. Jesus however has seen
that Mary has reacted very positively to what he has been telling her about salvation and
indicates that this is enough, this is indeed all we should be seeking.
36
North Aisle 5
The Good Shepherd and John the Evangelist
Manufacturer:
Robert McCausland Limited, 30 Chauncey Ave, Etobicoke, ON M8Z 2Z4
Dimensions:
All the aisle stained glass windows are in the bottom part of the 14 tall windows on the north and
south sides. These lower portions are about 54-56 inches wide and about 104 inches tall. These
are divided into two parts by the tracery, each about 25 by 104 inches.
Installed:
Post 1897; restored in 1990
37
Religious quotation:
I know my sheep and am known of mine. [John 10:14].
The full quotation is “I am the good shepherd; and I know My sheep, and am known by My
own.” [NKJV]
Donor inscription:
Left side:
“In memory of James Bullpit 1st Methodist Minister on this Island 1807/ Born in London March
28 1767/ Died Dec 20 1849.”
“And Hannah Butterfield, his wife born Aug 24 1767/ Died March 25 1842. Erected by their
granddaughter/ Mrs Hannah Roberson.”
Right side:
“Also: In memory of her Parents/ James Chancey Bullpit/ Born April 3 1800 – Died May 13
1862/ and Louisa Hawkins his wife/ born February 23 1805 – died October 26 1862.”
Description of Window:
In a typical double window design favoured by McCausland’s, once again two figures are
presented under elaborate shrines both to join them in composition and separate them as subjects.
On the left Jesus appears richly-dressed, carrying a lamb on his right arm and in his left hand, the
shepherd’s crook. At his feet are two lively sheep. On the right, and labelled “John” at the
bottom of the window, the very youthful Saint John, richly dressed in a purple robe with a gold
cloak, holds a quill in his right hand and supports an open book in his left – the book that will be
his Gospel. Although they occupy the same architectural space they are not communicating.
Jesus takes care of his sheep and John at a later date writes about the significance of the words he
records.
38
South Aisle 1
David instructs Solomon to build the Temple
Manufacturer: Luxfer Studios Ltd., 6-8481 Keele St, Concord ON, L4K 1Z7
Dimensions:
All the aisle stained glass windows are in the bottom part of the 14 tall windows on the north and
south sides. These lower portions are about 54-56 inches wide and about 104 inches tall. These
are divided into two parts by the tracery, each about 25 by 104 inches.
39
Installed:
Dedicated January 13 1939; restored in 2004.
Religious quotation:
1864 - “they rest from their labors, and their works do follow them.[Revelation 14:13]" - 1939
Donor inscription:
To the memory of the men and women who in 1864 erected this church: the Congregation/ on
the occasion of the 75 anniversary, November 12 1939, dedicated this Memorial. [The window
had already been installed on January 13 1939.]
Description of Window:
The window is divided into two lancets and topped with flamboyant Gothic architectural
ornament, typical of the Luxfer window designs in this church. The moment depicted in the
windows is not a single episode described in the Bible but a summary of events described in
different books. In 1 Kings 6 is a very detailed description of all that was involved in building
the temple but that is not what is portrayed here. Rather it seems to be the moment described in 1
Chronicles 22:7 when Solomon is anointed by his father and instructed to build the temple. On
the right David is seated on his throne accompanied by two assistants, possibly an architect and a
workman with a long-handled axe. Before the king is the heroic Solomon in all his glory
[Matthew 6:29], stripped to the waist, carrying, no doubt, a piece of cedar for the panelling of the
interior of the holy of holies. Next to his right leg is a jug with a scroll above it that says,
“Solomon building the temple”. Tools of various kinds are to be seen scattered about: a hatchet,
a compass, a mallet, and another compass on an open scroll, probably the plan for the temple
with its very specific instructions and dimensions. In the background can be seen three more
workers with pieces of lumber. Their presence, and the possible evidence of new wooden
architecture, suggests that this scene telescopes Solomon’s anointing with the later actual work
of construction. Behind David’s throne can be seen a corner of the Ark of the Covenant with its
winged cherubim as described in Exodus 25:10-22, waiting to be placed in its new home in the
heart of this first temple.
Religious Symbolism:
It is natural for any congregation to compare their efforts in building a church as parallel to the
building of the Temple by David and Solomon. It suggests a great love of God and a desire to
provide Him with a home built with the finest materials in the finest manner possible. No doubt
the builders of the 1864 church felt that way.
In choosing the words from Revelation 14:13: “they rest from their labors, and their works do
follow them” as the scriptural reference for this window the congregation is secure in the belief
that their faith and good works will go on for the years to come.
40
South Aisle 2
The Angel of the Resurrection and The Agony in the Garden
Manufacturer: Luxfer Studios Ltd., 6-8481 Keele St, Concord ON, L4K 1Z7
Dimensions:
All the aisle stained glass windows are in the bottom part of the 14 tall windows on the north and
south sides. These lower portions are about 54-56 inches wide and about 104 inches tall. These
are divided into two parts by the tracery, each about 25 by 104 inches.
Installed:
1929; restored in 2005.
41
Religious quotation:
Under the Angel: He is Risen. [Matthew 28:6] Under Jesus in the garden: Watch and Pray that Ye enter not into Temptation. [Matthew 26:41]
Donor inscription:
On the left side: To the Glory of God and in Sacred Memory of JEAN I. TWEEDY/ 1898-1928/
Presented by Her loving Husband George J. Tweedy.
On the right side: To the Glory of God and in sacred Memory/ Colonel F S Moore 1846-1929/
and His beloved Wife Eliza B Moore 1834-1914/ Presented by Their loving Daughter Jean M
Black.
Description of Window:
The two window panels are framed by the usual Gothic architectural elements found in the three
other Luxfer windows. At first we are deceived into thinking that a single event is taking place,
such as an angel come to comfort Jesus during his agony in the garden of Gethsemane. An
argument can be made for this. But this is probably not the case and reading the pictures left to
right is confusing. Chronologically the story begins on the right with Jesus kneeling in the garden
in a sorely troubled state. It is the story told in Matthew 26:36-46. We reproduce it in full:
Then Jesus came with them to a place called Gethsemane, and said to the disciples, “Sit
here while I go and pray over there.” And He took with Him Peter and the two sons of
Zebedee, and He began to be sorrowful and deeply distressed. Then He said to them, “My
soul is exceedingly sorrowful, even to death. Stay here and watch with Me.”
He went a little farther and fell on His face, and prayed, saying, “O My Father, if it is
possible, let this cup pass from Me; nevertheless, not as I will, but as You will.”
Then He came to the disciples and found them sleeping, and said to Peter, “What! Could
you not watch with Me one hour? Watch and pray, lest you enter into temptation. The
spirit indeed is willing, but the flesh is weak.”
Again, a second time, He went away and prayed, saying, “O My Father, if this cup cannot
pass away from Me unless I drink it, Your will be done.” And He came and found them
asleep again, for their eyes were heavy.
So He left them, went away again, and prayed the third time, saying the same words.
Then He came to His disciples and said to them, “Are you still sleeping and resting?
Behold, the hour is at hand, and the Son of Man is being betrayed into the hands of
sinners. Rise, let us be going. See, My betrayer is at hand.”
The picture on the left is the Angel of the Resurrection as described in Matthew 28:1-8. The
stone has been rolled back and the angel, brilliant beyond description, points at the empty tomb
and the abandoned crown of thorns.
From an artistic point of view it would have made more sense to reverse this composition so that
the sequence of events, separated by several days, would unfold logically from left to right. It is a
beautiful window otherwise, with deep rich glass contrasted with the brilliant monochromatic
angel. The effect is powerful.
42
South Aisle 3
Presentation in the Temple
Manufacturer: Robert McCausland Limited, 30 Chauncey Ave, Etobicoke, ON M8Z 2Z4
Dimensions:
All the aisle stained glass windows are in the bottom part of the 14 tall windows on the north and
south sides. These lower portions are about 54-56 inches wide and about 104 inches tall. These
are divided into two parts by the tracery, each about 25 by 104 inches.
Installed:
1903; restored in 2005.
43
Religious quotation:
Then took he Him up in his arms and Blessed God [Luke 2:28]
Donor inscription:
Left side: In Memory of Charles Welsh B 1796 D 1873
Right side: In memory of Lois Welsh B 1801 D 1886
Description of Window:
In this McCausland window we see an unusual open composition where the two lancet arches
open onto the single space of the Temple, here in the Gothic style. Bringing the action forward is
a rail before which the five participants are lined up, much like in a Classical sculptural frieze.
On the left, appropriately placed, are Mary and Joseph who have just entered the Temple. Joseph
carries a small cage with the sacrificial victims described in Luke 2:24: “and to offer a sacrifice
according to what is said in the law of the Lord, a pair of turtledoves or two young pigeons.”
The post of the window tracery divides the space in two and on the other side is Simeon, holding
the infant Jesus who reaches out to his parents or to bless the world. It is a lovely ambiguity and
a delicate design touch. Here is taking place the event described in Luke 2:25-28:
“And behold, there was a man in Jerusalem whose name was Simeon, and this man was
just and devout, waiting for the Consolation of Israel, and the Holy Spirit was upon him.
And it had been revealed to him by the Holy Spirit that he would not see death before he
had seen the Lord’s Christ. So he came by the Spirit into the temple. And when the
parents brought in the Child Jesus, to do for Him according to the custom of the law, he
took Him up in his arms and blessed God …”
It is a lovely scene, full of gentleness in the formal space of the Temple, and the elimination of
most of the ornament usually seen in church windows gives it a unique presence among the other
windows where the artistic composition is more tightly controlled. Although McCausland
presents a unified space behind the window tracery in two others of his windows in the church
this one shows the freest, most unencumbered use of that compositional technique.
44
South Aisle 4
The Light of the World and Allegory of Faith
Manufacturer: Robert McCausland Limited, 30 Chauncey Ave, Etobicoke, ON M8Z 2Z4
Each window panel is signed.
Dimensions:
All the aisle stained glass windows are in the bottom part of the 14 tall windows on the north and
south sides. These lower portions are about 54-56 inches wide and about 104 inches tall. These
are divided into two parts by the tracery, each about 25 by 104 inches.
45
Installed:
Post 1887; restored in 1988.
Religious quotation:
Left panel: “Behold, I stand at the door and knock.”
This is the source for the quotation: “Behold, I stand at the door and knock. If anyone hears My
voice and opens the door, I will come in to him and dine with him, and he with Me.” Revelation
3:20 (NKJV)
The right panel is labelled “Faith”.
Donor inscription:
In Memory of Rev William W Perkins
Description of Window and its Symbolism:
This is McCausland’s treatment of that most popular and famous subject for a stained glass
window- The Light of the World, made popular by Holman Hunt’s 1851-53 painting of that
name. An excellent description of that work of art and its enduring symbolism can be found in
this internet link: https://en.wikipedia.org/wiki/The_Light_of_the_World_(painting)
The title “The Light of the World” also comes from John where it occurs in several places, the
best known being John 8:12: “Then Jesus spoke to them again, saying, “I am the light of the
world. He who follows Me shall not walk in darkness, but have the light of life.” As Hunt
pointed out the door has no handle – it can only be opened from within. In this window there is a
door knocker on which Jesus’ hand still rests.
On the other side of the tracery central post is another figure in a typical McCausland shrine. It is
the allegorical figure of Faith who holds the Bible to her breast. On her forehead is a star which
can be interpreted in a number of ways. It is often symbolic of Mary as a virgin or the Star of the
Sea that leads us to a safe haven but here the figure is the personification of Faith who indicates
to us that the safe harbour are the truths found in Holy Scripture. In combination with the figure
of the Light of the World on the left the window the whole probably signifies the Christian
community of the church ever ready to open its door to the Word of God.
46
South Aisle 5
Jesus Doing Good and Healing All who were Oppressed
Manufacturer: Robert McCausland Limited, 30 Chauncey Ave, Etobicoke, ON M8Z 2Z4
Dimensions:
All the aisle stained glass windows are in the bottom part of the 14 tall windows on the north and
south sides. These lower portions are about 54-56 inches wide and about 104 inches tall. These
are divided into two parts by the tracery, each about 25 by 104 inches.
Installed:
Post 1897; restored in 1988.
47
Religious quotation:
“Jesus went about doing good.” [Acts 10:38]
Here is the full text: “how God anointed Jesus of Nazareth with the Holy Spirit and with power,
who went about doing good and healing all who were oppressed by the devil, for God was with
Him.” Acts 10:38 (NKJV).
Donor inscription:
“In memory of Ralph Brecken and Phoebe M Brecken”
Description of Window:
In another one of his integrated spatial compositions McCausland deals with the story described
in the Acts of the Apostles (10:38) where Jesus goes about healing those who are ill, an activity
described in other passages of the Bible. The setting is a room in an elegant house with a view of
the open countryside with parts of a town visible beyond the windows. On the left, in an
elegantly curtained bed, a young woman lies ill, flanked by her worried parents. Near the edge of
the picture frame is a table bearing jars and bottles of medicines and a mortar and pestle, all
associated with doctors in Christian symbolism. Jesus has just raised his right hand in a gesture
to expel the evil spirits of illness that are in her body, a gesture that will soon turn into a blessing
of the healed girl.
This is a beautifully dramatic composition that is perfectly suited to a stained glass window.
48
49
Schema of the Secondary Windows
There are 7 great lancet windows along the North and South sides of the church
consisting of decorative unpainted glass patterns arranged in a traditional Gothic
double lancet design and filling the original tracery patterns. In the main body of
the church however all the lower portions of these windows have been filled with
fine stained glass.
North Vestry Window 6
South Vestry Window 6
North gallery window 5
South gallery window 5
North gallery window 4
South gallery window 4
North gallery window 3
South gallery window 3
North gallery window 2
South gallery window 2
North gallery window 1
South gallery window 1
North Staircase Window
South Staircase Window
50
The North and South Windows of the Porch
Porch North Window Porch South Window
Manufacturer:
Unknown.
Dimensions:
Total approximate dimensions of the 14 lateral windows: 56 inches wide by 244 inches high.
Top portion of window: 56 inches wide by 140 inches high. Lower portion of window is 56
inches wide by 104 inches high.
Installed:
Unknown.
Donor inscription:
n/a
51
Description of Window:
Windows of fairly low colour density were installed in all upper portions of the fourteen tall
lancet windows that fill the bays on the long sides of the church. In those windows at the west
(porch) end, which falls outside the main body of the church, the glass was extended down to the
sill of the window. In the vestry, a service area, what is probably the original 1864 clouded glass
survives in the lower portions. In the body of the church ten windows of real stained glass
occupy the lower parts of these tall windows. The transitions may appear awkward to some
because of the juxtaposition of quality stained glass and simple work consisting only of patterns
of coloured glass.
The windows are not proper “stained glass” in that nothing has been painted on them. There are
no pictures, only patterns created by arranging various colours and textures in paired lancet
forms within the greater whole. There are abstract hints of plant ornament seen here and there.
52
North Gallery Windows 1-6
Decorative glass patterns arranged in a traditional Gothic double lancet design to
fit existing window tracery.
Manufacturer:
Unknown.
Dimensions:
Total approximate dimensions of window: 56 inches wide by 140 inches high.
Installed:
Unknown.
53
South Gallery Windows 1-6
Decorative glass patterns arranged in a traditional Gothic double lancet design to
fit existing window tracery.
Manufacturer:
Unknown.
Dimensions:
Total approximate dimensions of window: 56 inches wide by 140 inches high.
Installed:
Unknown.
54
Vestry North and South Windows (N6 and S6)
North Vestry window with
top in Gallery.
South Vestry window with
top in Gallery.
Manufacturer:
Unknown.
Dimensions:
Total approximate dimensions of window: 56 inches wide by 244 inches high. Lower portion of
window is 56 inches wide by 104 inches high.
Installed:
Probably 1864.
Description of Window:
These are the lower portions, located in the vestry, of the tall narrow windows located along the
north and south walls of the church. Money was not spent on extending the coloured glass down
into what was essentially a service area and what we see may well be vestiges of the original
windows installed in 1864. In the Protestant and Evangelical Witness, 19 November, 1864, it says, “the whole of the windows are glazed with milk and ground glass which softens the light.”
55
Schema of the Chapel Windows
North Window 2
The Tetramorphs
Burden and Hrabi
1984
North Window 1
Various Religious Symbols
Burden and Hrabi
1984
Chancel Window
Monogrammed Cross
Purdy and FitzPatrick
1991
South Window 3
Baptism of Jesus & Jesus Teaching
Paul Blaney, St. John,
1981
South Window 2
Jesus with Children & Healing the
Sick
Paul Blaney, St. John,
1981
South Window 1
Agony in the Garden & Resurrection
Paul Blaney, St. John,
1981
56
Chapel Chancel Window
Monogrammed Cross
Manufacturer:
Designed by Henry Purdy and assembled by April FitzPatrick. Light box constructed by Robert
Dodderidge.
Dimensions:
4 feet 6 inches wide and 6 feet 6 inches tall.
57
Installed:
July 1991
Donor inscription:
“IN LOVING MEMORY OF DENA BEATON/ DONATED BY HER HUSBAND STERLING
AND CHILDREN HEATHER AND RON JULY 1991”
Description of Window:
This is the finest piece of semi-abstract stained glass at Trinity and a fairly recent donation
reflecting the continuing desire by members of the congregation to continue embellishing their
church with luminous visions inspired by Scripture. Since there was no window opening in
which to place this window it was attached to a light box of the same dimensions.
Against a primarily blue and gold fractured background symbolising heaven and the sky floats a
large white cross made up of glass elements that blend vertically and horizontally with smoother
borders, suggesting stability in the abstract context. At the crossing is the familiar sacred
monogram represented by the Latin script letters
ihs. This transliteration from the Greek form of the name of Jesus has, over many years, caused
confusion as to what this symbol means. Common interpretations are “I have suffered” or Latin
scholars might say “In hoc signo” referring to the cross the Emperor Constantine is said to have
seen in the sky before the Battle of the Milvian Bridge whose victory marked a crucial moment
in the emancipation of Christianity. In point of fact this symbol comes from the first three letters
of the name of Jesus in the Greek New Testament: ἸΗΣΟῦΣ, thus IHΣ.
This symbol is commonly seen on vestments and sacred objects and vessels used by the
Anglican and Roman Catholic confessions. It is not unusual to find it on Communion Plate.
This is a bright and powerful window and a fitting background to the tiny chapel chancel.
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Chapel – North Window 1
Various Religious Symbols
Manufacturer:
Burden & Hrabi, Charlottetown
Dimensions:
The window, containing four smaller windows, is 92 inches wide and 40 inches tall. The small
vertical panels are approximately 40 by 21.5 inches.
Installed:
1984
Donor inscription:
Bible vignette: “In loving memory of MAUDE GAMESTER presented by the family”
Wheat vignette: “In loving memory of MARGARET JEAN LACEY presented by Mother, Dad
and family”
Lamp vignette: “In loving memory of husband JOHN and son IVAN presented by Mrs. J.M.
Gillis”
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Ship vignette: “In loving memory of Hon., & Mrs. BRADFORD WILLIAM LePAGE presented
by the family”
Description of Window:
This window, consisting of four small vertical panels grouped together to form a single unit was
designed by John Burden and Blain Hrabi of Charlottetown. It is matched by another similarly
arranged window with more complicated religious symbolism. Both windows have a similar
underlying geometric grid of coloured rays fanning out to a point outside the picture frame. Each
window has a separate donor for a total of eight memorials.
This window features four symbols that are easy to interpret.
The first symbol is the Holy Bible, which needs no explanation.
The second symbol is a sheaf of three heads of wheat, which symbolises the bread of the
Eucharist but also the three persons in the Trinity.
The third symbol, a burning lamp, is an attribute of several saints, but here it is used as a symbol
of wisdom and piety. We are reminded of the parable of the Wise and Foolish Virgins in
Matthew 25:1-13 and in Psalm 119:105 we read “Your word is a lamp to my feet and a light to
my path.”
The fourth symbol is of a ship tossed about on the waves. The possible interpretations of this
symbol are many with Noah’s Ark coming to mind at once. In early Christian times the Ark
became a symbol of the Church where safety from the storms of life could be found. Perhaps the
most familiar image of a ship in the New Testament is the story of Jesus calming the storm on
the Sea of Galilee found in Matthew 8: 23-27: “Now when He got into a boat, His disciples
followed Him. And suddenly a great tempest arose on the sea, so that the boat was covered with
the waves. But He was asleep. Then His disciples came to Him and awoke Him, saying, “Lord,
save us! We are perishing! But He said to them, “Why are you fearful, O you of little faith?”
Then He arose and rebuked the winds and the sea, and there was a great calm. So the men
marveled, saying, “Who can this be, that even the winds and the sea obey Him?”
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Chapel North Window 2
The Evangelists (The Tetramorphs)
Manufacturer:
Burden & Hrabi, Charlottetown
Dimensions:
The window, containing four smaller windows, is 92 inches wide and 40 inches tall. The small
vertical panels are approximately 40 by 21.5 inches.
Installed:
1984
Donor inscription:
Matthew vignette: In loving memory of/ DORIS BENNETT /Presented by husband Gordon &
family”
Mark vignette: “In loving memory of/ CATHERINE JEAN JARDINE /presented by husband
Edgar”
Luke vignette: In loving memory of/ JOHN & INA CASWELL/ presented by the family”
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John vignette: In loving memory of /ANTHONY JOHN ANDERSON/ presented by Mom &
Dad”
Description of Window:
This window, consisting of four small vertical panels grouped together to form a single unit was
designed by John Burden and Blain Hrabi of Charlottetown. It is matched by another similarly
arranged window with simpler religious symbolism. Both windows have a similar underlying
geometric grid of coloured rays fanning out to a point outside the picture frame. Each window
has a separate donor for a total of eight memorials.
Here there is no doubt as to the significance of the four panels. They represent the four creatures
seen by Ezekiel around the throne of God in his vision of the throne room of heaven. The
passages in which they are described are strange and wonderful and we reproduce Revelation 4:
1-8 below:
“After these things I looked, and behold, a door standing open in heaven. And the first
voice which I heard was like a trumpet speaking with me, saying, “Come up here, and I
will show you things which must take place after this.”
Immediately I was in the Spirit; and behold, a throne set in heaven, and One sat on the
throne. And He who sat there was like a jasper and a sardius stone in appearance; and
there was a rainbow around the throne, in appearance like an emerald. Around the throne
were twenty-four thrones, and on the thrones I saw twenty-four elders sitting, clothed in
white robes; and they had crowns of gold on their heads. And from the throne proceeded
lightnings, thunderings, and voices. Seven lamps of fire were burning before the throne,
which are the seven Spirits of God.
Before the throne there was a sea of glass, like crystal. And in the midst of the throne,
and around the throne, were four living creatures full of eyes in front and in back. The
first living creature was like a lion, the second living creature like a calf, the third living
creature had a face like a man, and the fourth living creature was like a flying eagle. The
four living creatures, each having six wings, were full of eyes around and within. And
they do not rest day or night, saying:
“Holy, holy, holy,
Lord God Almighty,
Who was and is and is to come!”
Quite early on in the development of Christian art these four creatures, called the tetramorphs
(Greek for “four shapes or creatures”) were adapted as symbols for the four Evangelists. Thus
the winged man became the symbol for Saint Matthew, the lion represented Saint Mark, the ox,
Saint Luke and the eagle the high-flying Saint John. In their stained glass windows Burden and
Hrabi have created large powerful images of the tetramorphs, each holding a vivid red scroll
giving their identity.
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Chapel South Window1
The Agony in the Garden and The Resurrection
Manufacturer:
Paul Blaney, P. E. B. Stained Glass Studio, Saint John
63
Dimensions:
The whole window, which consists of two vertical panels, is 54 inches wide and 52 inches tall.
The vertical windows are 24 inches wide by 52 inches tall.
Installed:
1981
Religious quotation:
“Not my will but thine”
[saying, “Father, if it is Your will, take this cup away from Me; nevertheless not My will, but
Yours, be done.” Luke 22:42 (NKJV)]
“He is risen”
[He is not here; for He is risen, as He said. Come, see the place where the Lord lay. Matthew
28:6 (NKJV)]
Donor inscription:
Left side: “TO THE GLORY of GOD & in LOVING MEMORY. of HARRY F. DREW.”
Right side: “TO THE GLORY of GOD & in LOVING MEMORY. Of J. ELLA DREW.”
Description of Window:
This series of three windows by Paul Blaney located on the south basement level of the church
has a background of mostly whitish glass arranged in a strict rectangular fashion. The light glass
allows more light to enter this dark space, sunk below street level. The rectangular arrangement
of the glass pieces present a sort of cubistic effect that carries over into the figures portrayed. In
that way these windows have a modernistic, almost cubistic concept in their design.
The subject of this window is the Agony in the Garden (Luke 22) on the left and the Angel of the
Resurrection on the right (Matthew 28:6). There is a severity in the features of both Jesus and the
Angel and a formality and angularity in the composition. It is instructive to compare this window
with a much older version of the same subject – South Aisle Window 2 by Luxfer Studios, “The
Agony in the Garden”, 1929.
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Chapel South Window 2
Jesus with Children and Healing the Sick
Manufacturer:
Paul Blaney, P. E. B. Stained Glass Studio, Saint John
Dimensions:
The whole window, which consists of two vertical panels, is 54 inches wide and 52 inches tall.
The vertical windows are 24 inches wide by 52 inches tall.
Installed:
1981
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Religious quotation:
Left side: “Let the children come to me”
[But Jesus said, “Let the little children come to Me, and do not forbid them; for of such is the
kingdom of heaven.” Matthew 19:14 (NKJV)]
Right side: “He healed many who were sick”
[Then He healed many who were sick with various diseases, and cast out many demons; and He
did not allow the demons to speak, because they knew Him. - Mark 1:34 (NKJV)]
Donor inscription:
Left side: “TO THE GLORY OF GOD AND IN LOVING MEMORY. of AMY MacLEOD.”
Right side: “TO THE GLORY OF GOD AND IN LOVING MEMORY. of H. CHALMERS
MacLEOD.”
Description of Window:
This series of three windows by Paul Blaney located on the south basement level of the church
has a background of mostly whitish glass arranged in a strict rectangular fashion. The light glass
allows more light to enter this dark space, sunk below street level. The rectangular arrangement
of the glass pieces present a sort of cubistic effect that carries over into the figures portrayed. In
that way these windows have a modernistic, almost cubistic concept in their design.
The windows refer to specific episodes in the life of Christ as described in the Bible. In this pair
Jesus expresses his concern for little children and uses his powers to heal the sick.
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Chapel South Window 3
The Baptism of Jesus & Jesus Teaching
Manufacturer:
Paul Blaney, P. E. B. Stained Glass Studio, Saint John
Dimensions:
The whole window, which consists of two vertical panels, is 54 inches wide and 52 inches tall.
The vertical windows are 24 inches wide by 52 inches tall.
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Installed:
1981
Religious quotation:
Left side: “Thou art my beloved son”
[Then a voice came from heaven, “You are My beloved Son, in whom I am well pleased.” Mark
1:11 (NKJV)]
Right side: “and He taught them”
[possibly Matthew 5:2 – “Then He opened His mouth and taught them, saying:…”
Donor inscription:
Left side: “TO THE GLORY OF GOD AND IN LOVING MEMORY. of THE FOUNDERS of
THIS CHURCH.”
Right side: “TO THE GLORY OF GOD AND IN LOVING MEMORY. Of ALL DEPARTED
MEMBERS.”
Description of Window:
This series of three windows by Paul Blaney located on the south basement level of the church
has a background of mostly whitish glass arranged in a strict rectangular fashion. The light glass
allows more light to enter this dark space, sunk below street level. The rectangular arrangement
of the glass pieces present a sort of cubistic effect that carries over into the figures portrayed. In
that way these windows have a modernistic, almost cubistic concept in their design.
This pair of windows is concerned with the path to salvation. First, in His own baptism by John
the Baptist, Jesus tells us that we must be cleansed. In the second window there is an emphasis
on teaching the way to those who have chosen the path of God.
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69
Schema of the Parlour Windows
The only two windows in the Parlour are located in the north side. The theme of
these windows centres around four Parables: the Talents, the Sower, the Good
Samaritan and the Prodigal Son.
Parlour North Window 2
The Talents & The Sower
Burden and Hrabi, Charlottetown,
1987
Parlour North Window 1
The Good Samaritan & The Prodigal Son
Burden and Hrabi, Charlottetown,
1987
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The Parlour – North Window 1
The Good Samaritan & The Prodigal Son
Manufacturer:
Burden & Hrabi, Charlottetown, 1987
Dimensions:
The whole window is about 52 inches wide and 51 inches high. The vertical panels are about
23.5 inches wide by 51 inches high.
Installed: 1987.
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Religious quotation:
Left side: “The Good Samaritan” [Luke 10:25-37]
Right side: “The Prodigal Son” [Luke 15:11-32]
Donor inscription:
Left side: “IN LOVING MEMORY OF FANNIE AVARD PRESENTED BY HUSBAND
GORDON”
Right side: IN LOVING MEMORY OF J. FULTON PIERCE PRESENTED BY LOTTIE AND
JOHN”
Description of Window:
Local artists Burden and Hrabi produced a pair of stained glass windows which were placed in
front of the basement windows for illumination. Each window represents a pair of Parables that
are separated from each other visually by a tree whose trunk is actually the wide centre post of
the tracery. We do not know who chose the particular Parables represented in this window or
why this particular combination was chosen.
The Parables, in which about a third of the teachings of Jesus are found, are brief interesting
stories often of a paradoxical nature. They are much valued because it is possible they represent
the actual words of Jesus.
Parable #24 — Luke 10:25-42 — The Good Samaritan
Parable #31 — Luke 15:11-32 — The Prodigal Son
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The Parlour – North Window 2
The Talents & The Sower
Manufacturer:
Burden & Hrabi, Charlottetown, 1987.
73
Dimensions:
The whole window is about 52 inches wide and 51 inches high. The vertical panels are about
23.5 inches wide by 51 inches high.
Installed:
1987.
Religious quotation:
Left side: “The Talents” [Matthew 25:14-30 – Parable of “The Talents”]
Right side: “The Sower” [Matthew 13 and Mark 4]
Donor inscription:
Left side: TO THE GLORY OF GOD AND IN LOVING MEMORY OF EVELYN M.
ASHFORD/ PRESENTED BY KEITH AND PAT HENRY”
Right side: TO THE GLORY OF GOD AND IN LOVING MEMORY OF Rev. H.E.D.
ASHFORD D.D./ PRESENTED BY KEITH AND PAT HENRY”
Description of Window:
Local artists Burden and Hrabi produced a pair of stained glass windows which were placed in
front of the basement windows for illumination. Each window represents a pair of Parables that
are separated from each other visually by a tree whose trunk is actually the wide centre post of
the tracery. We do not know who chose the particular Parables represented in this window or
why this particular combination was chosen.
The Parables, in which about a third of the teachings of Jesus are found, are brief interesting
stories often of a paradoxical nature. They are much valued because it is possible they represent
the actual words of Jesus.
Parable #45 — Matthew 25:14-30 — Three servants given talents
Parable #11 — Matthew 13:3-23 — The sower: four types of soil
74
75
BIBLIOGRAPHY
Primary Sources
The Holy Bible, New King James Version, Thomas Nelson, 1982
The Guardian, Charlottetown, 11 March and 22 August, 1904
Goss, Warren W., Methodists, Bible Christians and Presbyterians in Prince
Edward Island – Campbellton – Miminegash, Campbellton-Miminegash
Fellowship Group in association with New Horizon’s Program of Health and
Welfare Canada, 1984
Mair, Nathan H., collected and edited by, Stories of the Wesleyan Chapel/
Charlottetown, P.E.I./ 1835-1864/ As Reported in Local Newspapers,
Charlottetown, 2011.
Methodist Hymn-Book, The Methodist Book and Publishing House, Wesley
Buildings, Toronto, 1884.
McCausland, Andrew, of Robert McCausland Limited, Etobicoke, ON M8Z 2Z4,
personal email communications, September-October 2015.
Protestant and Evangelical Witness, 19 November, 1864.
Rogers, Flora Smith, “Glimpses of Glory and Grace” [cover title], Trinity United
Church Charlottetown, 1809-1964, [title page], Trinity United Church Women,
Charlottetown, 1964.
Stevens, Rev. A. A.M., Memorials of the Introduction of Methodism into the
Eastern States: Comprising Biographical Notices of its Early Preachers, Sketches
of its First Churches, and Reminiscences of its Early Struggles and Successes,
Charles H. Pierce, Boston, 1848.
Trinity United Church Fonds, Public Archives and Records Office of P.E.I.,
Accession Number: 3295.
Wesley, John, A Collection of Hymns, for the use of the people called Methodists,
Wesleyan Conference office, London, 1779, (this expanded edition circa 1860).
76
Secondary Sources
Child, Mark, Discovering Church Architecture, Shire Publications Limited,
Oxford, 2012.
Clowney, Paul & Tessa, Exploring Churches, William B. Eerdmans Publishing
Company, Grand Rapids, Michigan, 1982.
Ferguson, George, Signs & Symbols in Christian Art, Oxford University Press,
New York, Reprinted 1967.
Hall, James, Dictionary of Subjects and Symbols in Art, Icon Editions, Harper &
Row, Publishers, New York, Revised Edition 1979.
Lee, Lawrence; Seddon George; Stephens, Francis, Stained Glass, Crown
Publishers, Inc., New York, 1976.
McNamara, Denis R., How to Read Churches: A crash course in ecclesiastical
architecture, Herbert Press, London, 2011.
Metford, J. C. J., Dictionary of Christian Lore and Legend, Thames and Hudson,
London, 1983.
Sill, Gertrude Grace, A Handbook of Symbols in Christian Art, Collier Books, a
Division of Macmillan Publishing Co., Inc., New York, Second Printing 1979
Webber, F. R., Church Symbolism: An Explanation of the More Important Symbols
of the Old and New Testament, the Primitive, the Mediaeval and the Modern
Church, Second Edition Revised, Gale Research Company, Detroit, 1971.
Stained Glass Manufacturing Techniques
These three short videos called “The Eternal Art of Stained Glass” from the Robert
McCausland Limited website explain how stained glass windows are made, from
concept to installation. They can be found at this link:
http://www.eternalglass.com/videos
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